Mindcast.50 || Grischa Lichtenberger

The author of our short MINDCAST.The 50th anniversary piece is the accomplished GRISCHA LICHTENBERGER, who has put together a fascinating and varied mix featuring plenty of material from his own archive. Grischa Lichtenberger (*1983 in Bielefeld) is a producer of electronic music, installation, and multimedia art. Since 2009, his works appear, among others, on the renowned label Raster-Noton, and he was awarded an honorable mention at the Ars Electronica back in 2013. Grischa also composed the music for the choreography ‘Last Work’ by Ohad Naharin for the Batsheva Dance Company in Tel Aviv.

Lichtenberger has presented his audiovisual live show at prestigious international festivals and concerts (including Elektra and Mutek Montreal, Electron Festival Geneva, Sou Festival Tbilisi, and A l’Arme Festival Berlin), and his installation and visual works have also been realized nationally and internationally. The artistic works of Grischa Lichtenberger are characterized by a combination of rawness and refinement, prudence and intimacy. Dance, club culture, and pop collide with an individual aesthetic that can equally be found in museum architecture, in the living room, in techno clubs, or in concert halls.

Grischa is looking forward to a busy year, 2019, with several releases planned, including the concluding second part of the five-release series “la demeure / il y a péril en la demeure.” We’re very delighted and proud that Grischa found the time to create this exclusive anniversary mix for us. Here are a few words from him about this compilation:

“The mix deals with distortion, featuring various examples from my own archive and pieces that I appreciate. The distortion is maybe a good example of the significance of technology beyond its functionality. On the one hand, distortion is always a kind of musical taboo, a border of the concept of music itself, and an unwanted by-product. On the other hand, youth culture, rock ‘n’ roll, punk, hardcore, grunge, noise—they all have shared a certain appreciation for distortion. What they intend/intended with distortion is not the ‘sound quality of analog saturation’ (as is the word today), but a certain de-symbolization of musical functionality that they have found reflected in their misuse of technology.”